The recession seems to be doing little to stem the flood of CDs. This posting and others to follow constitute one man’s attempt to deal with the rising tide. The quick hits below are not full-fledged reviews, far from it. They are acknowledgements of a few releases worth investigating. Many of them, no doubt, deserve full analysis. The Rifftides staff regrets that we cannot provide deep consideration of all recordings of merit–or demerit. Listening and writing are linear activities, and the clock keeps ticking. Doomed never to catch up, we’re trying to stay abreast of the infinite surge of new recordings.
Geoffrey Keezer, Ãurea (ArtistShare). Pianist Keezer is in the thick of the Peruvian movement that is attracting more and more jazz musicians. His playing, compositions and arrangements radiate authenticity and the freshness of Afro-Peruvian jazz. With propulsion by percussionists Hugo Alcázar and Jon Wikan and bassist Essiet Okon Essiet, Keezer crafts inventions based on shifting rhythms and deep harmonies. His colleagues include saxophonists Steve Wilson and Ron Blake, guitarists Peter Sprague and Mike Moreno, and the gifted Argentinian vocalist Sofia Rei Koutsovitis. Keezer’s setting of Eduardo Falú’s and Jaime Dávalos’ “La Nostalgiosa” is profoundly moving. He equals it with his own “Miraflores.”
Fat Cat Big Band, Meditations on the War for Whose Great God is the Most High You are God (Smalls). Angels Praying (Smalls). The bizarre cover illustration and the title mantra of the
Meditations CD steeled me for an outpouring of anger, new age rumination, avant garde self-indulgence or, possibly, all of that. Instead, in both albums we hear an 11-piece ensemble of good young New York players cruising the modern mainstream and soloing well. The compositions and arrangements by guitarist and leader Jade Synstelien are tinged with Mingus, Ellington and possibly a hint of Gary McFarland. I finally got to hear trumpeter Tatum Greenblatt, and understood why established trumpet soloists like Jay Thomas are talking about him. Synstelien’s vocals in a style reminiscent of Frank Zappa would fit the Industrial Jazz Group or Reptet. In this context, they come as a bit of a jolt. Maybe that’s what he intended.
Joe Temperley, The Sinatra Songbook (Hep). Yet another Sinatra tribute? Yes, please. Temperley, the baritone sax anchor and soprano saxophonist of the Lincoln Center Jazz Orchestra, plays standards from Sinatra’s repertoire. The only original is “Moontune,” composed by guitarist James Chirillo on the framework of “Fly Me to the Moon” with a jaunty out-chorus for the octet. Temperley’s LCJO colleagues trumpeter Ryan Kisor and pianist Dan Nimmer and five other state-of-the-art musicians are aboard. Everybody gets plenty of solo time, but Temperley is the central figure. His caressing of “Nancy” on the big horn is a highlight. Everything Nimmer plays is a highlight.
Bill Henderson, Beautiful Memory: Live At The Vic (Ahuh). Henderson is a few days short of his 83rd
birthday. Only 81 when this was recorded, he was as vigorous, rhythmically assured, in tune and full of blues and bop essences as when I first heard him singing as a stripling of 36. Embracing a sophisticated ballad (“Sleepin’ Bee”), updating a traditional classic (“Royal Garden Blues”) or improving on Elton John (“Sorry Seems to be the Hardest Word”), Henderson is utterly convincing.